College of Fine Arts

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The Sydney Biennale is an occasion for significant cultural exchange between artists and is well worth visiting, but lovers of the contemporary will find the Adelaide Biennale more compelling, writes Joanna Mendelssohn. 

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It is infantile for artists in the Biennale to pick on Trasnfield Holdings because of its contract to operate a detention centre on Manus Island if they ignore the central role the Australian government plays in directing the entire operation, writes Joanna Mendelssohn. 

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Richard Mosse infiltrated armed rebel groups in the Congo to capture their experiences on discontinued surveillance film. His dramatic video installation opens this week at Galleries UNSW.

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Surfboards decorated by COFA lecturer Phillip George fusing Western culture and Eastern art will be permanently displayed at Australia’s first Islamic Museum.

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The 2014 Adelaide Biennial is a tightly controlled, heart-wrenching, thoughtful critique of the change in Australian sensibility, and is well worth the price of an airfare to see it, writes Joanna Mendelssohn.  

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In a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage, writes Joanna Mendelssohn. 

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Is the latest visual campaign to stop the boats – in the form of a graphic novel – enough to counter asylum seekers' fear, panic and desperate need of humanitarian refuge, asks Phillip George. 

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Children's impulse to play with weapons appears to be innate. So are our attitudes to guns stifling imaginative play?

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In the Yirrakala Drawings exhibition at the Art Gallery of New South Wales, the contemporary and the historic face each other. For the artists and their descendants, these works are title deeds to their country, writes Brenda Croft.  


Throughout his life, artist Martin Sharp orchestrated a magic theatre of people, objects and art, writes Joanna Mendelssohn.